Photo by Suzanne Davis McMahon

Mark Erelli came out first and started with a few of his live staples “Columbus Ohio” and “Everything in Ruin” both from his newest solo album. From there, the tunes veered into his considerable back catalog. I must say that I missed the intimacy of previous shows with Mark where I didn’t feel so far away from the performer.

Lori then came out with Mark at her side. The two have clearly been performing together for a long time because they seemed to know each others moves on stage quite well. Mark in fact producted Lori’s forthcoming record.

Photo by Suzanne Davis McMahon

This is the first time that I’ve seen Lori McKenna. She somehow has managed to put together a successful songwriting career alongside a stay-at-home mom vocation. She has a very unassuming personality on stage. Most of her stories seem to revolve around what she called “chasing song around all day.” They are quite different in subject than most of the twangville topics of drinking, women, and the road. That said, her songs still mix in loss as well.

Her most striking tune was “Lorraine” about her late mother. She also explained that her full name is Lorraine as her full name as well. “The kitchen smells like orange peels / Her stomach turns like a spinning wheel / Put the baby down in her little seat / You should rest now mama you should eat.” While the images are striking and descriptive, the setting is familiar. It’s home, talking about what its like to be a mother.

Lori’s other songs seemed to center around being a husband, lover and mother. Its almost like she’s the Emily Dickinson of singer/songwriters. She’s got a home life that is so central to her life, that she has made those tunes so meaningful. For my money, I’d love to see some more variety in her subject matter. Maybe I need to dig deeper into her catalog.

“Last year I went through a big Sam Cooke phase,” Tom said. “While that was happening, I was going into a big Buck Owens, Merle Haggard, Waylon Jennings thing. It definitely manifested itself with how the record sounds. As a really young kid, my father would blast Stevie Wonder and would blast Willie Nelson.” The result was the assured and catchy Morning in Glen Burnie.

This marriage though it seems almost a no-brainer, it a rare find. Tom has been able to put together the voice and composition. The only other song that connects to it in a similar way is a more R&B version of Over the Rhine. But Tom has horns too in a true motown sound.

“I went to school and studied voice at a conservatory in Nashville,” Tom said. “It was really getting into the craft in a slightly different genre. I was trying to learn to sing in German and Italian. It was fascinating but it also sucked a little bit of my enjoyment out of it. So I got out of the conservatory. The reasons for doing it weren’t clear at the time in an intense environment like that. So I stopped. And then I did more of the songwriting stuff. And that was more of what I found myself drawn to do, just writing songs.”

Tom McBride ‘Morning in Glen Burnie’ – Live @ Dimension Sound (Jamaica Plain, MA) from Tom McBride on Vimeo.

McBride’s musical and vocal training really shines through. He manages to merge a pop sensibility, country backing and the soul. You can see McBride’s attention to melody in his tunes. He puts songs together that way. “I use my iPhone so much its ridicul0us. I tape endless thirty second voice memos.” He manages to balance out the different elements and influences.

At Cambridge’s basement haven, the Lizard Lounge I was able to see the record in real life. Tom had a ban who played up the country elements, particularly Duke Levine’s masterful guitar playing. Tracks like, “Just Like You” highlight the Americana elements. Tom’s album brings this together. His vocals have hit their stride.

I tend to come back to the more country tunes on the record. The first rack “But I Don’t Care” has a deep lyrical content as well. “She runs to the top of the stairs / with her loneliness but I don’t care / Is it time / To cross that line / Is it true? / You’d rather be lonely.” The honky piano really sets the stage for the album. McBride’s vocals really shine through on this track.

To look at the cover of the record, you might think Tom was either a Boston folky but you’d be wrong. There’s Americana Soul in there.

Photos by Suzanne Davis McMahon.

1. Robert Francis – Strangers in the First Place

After his major-label debut in 2009, I thought Robert Francis would be my little secret no longer. But strangely, neither 2009′s Warner release Before Nightfall or this year’s vanguard release Strangers in the First Place brought the kind of attention that I thought. This hasn’t dulled the mature songwriting, hooks and poetic lyrics deeply entwined in his songs. Songs “Some Things Never Change,” “Eighteen,” and “Perfectly Yours” rock with the right amount of country.

2. The Stray Birds – The Stray Birds

With two unique songwriters, singers and multi-instrumentalists, the Stray Birds look good on paper. But see them live or listen to this record and you’ll hear a unique combination. The power of Maya de Vitry’s voice (both as a writer and singer) in “Dream in Blue” and “Harlem” combines bluegrass and soul seamlessly. Oliver Craven gets expert fiddle playing from Maya on his his standout “25 to Life.” Craven and de Vitry trade the fiddle and guitar. This record has been in heavy rotation.

3. The Tallest Man on Earth – There’s No Leaving Now

While its June release seems like an eternity ago, “There’s No Leaving Now” is further proof of the unique combination of growling vocals and unique fingerpicking guitar style (in alternate tunings). While this album seems like a continuation of “The Wild Hunt” musically, its a definite step forward thematically. Songs “Bright Lanterns” and “Revelation Blues” seems even moredelicate than his previous work.

4. Josh Ritter – Bringing in the Darlings EP

In a quiet and hushed affair, Josh Ritter reminded me why he’s such a unique voice. Some songs barely rise above a whisper and seem to have one single recipient. “Darling” is a singable and beautiful song that I can listen to on repeat. If you haven’t seen it yet, the video for “Love is Making Its Way Back Home” is worth a viewing as well. It was quite stunning that an artist could create something so upbeat in the midst of a divorce. “Beast in its Tracks” should balance out that positivity.

5. Alabama Shakes – Boys & Girls

While this won’t be news to many, the Alabama Shakes album is great. It sounds like lost soul tracks from the late 60s earls 70s. Brittney Howard is a formidable songwriter and singer. She manages to pull together a unique sensibilityin her tunes. “Hold On,” “Hang Loose,” and “I Ain’t the Same” all show some of the best.

6. Jason Isbell – Live from Alabama

While I rarely invest in live albums, I figured Jason Isbell’s offering form this year deserved a shot.And I was right. It captures something that can’t quite come from studio performances. Isbell’s energy on “Tour of Duty” starts it off right. And the acoustic tracks retain their intimacy (see “In a Razor Town”).

7. Love Canon – Greatest Hits: Volume 2

Jesse Harper and crew continue to make some of the most likable and downright fun bluegrass tunes. They’re greatest hits alright, those of 80s pop artists,many of whom are long forgotten one hit wonders. Harper and the boys have managed to make me prefer the bluegrass versions and see the songs in a new light. Surprise favorite from this record, “Lets Get Physical.”

8. Justin Townes Earle – Nothing’s Going to Change the Way You Feel About Me Now

While it’s not my favorite of his, JT Earle always manages to bring something new. This time he’s pushed himself more forward and strained his voice tosound more like a soul singer than I really thought possible. While this one doesn’t have much in the standout department, it’s a loungy affair that seems like an interlude for JT at low-tempo.

9. Old Crow Medicine Show – Carry Me Back

It’s been a long time since OCMS had their original lineup. Back then David Rawlings, Bob Dylan, busking and Critter Fuqua were perennial influences. OCMS outgrew some, changed some and now they’ve come full circle. Fuqua is back in the mix and its a step back to the glory days of their first two albums. The first track “Carry Me Back to Virginia” and “Levi” are nothing short of inspirational. The rest of the record never reaches these heights consistently.

10. Joe Pug – Great Despiser

It’s odd to me that Joe Pug is a relative newbie. He seems like he’s been around forever. His early acoustic days had the hymns with random numbers. “Hymn #76″ puts in a few electric flourishes but the lyrics and acoustic picking hit high note again. “One of Many” hits a similar note as well. Pug’s guitar playing is more assured and still right up front in the mix. He’s at his best when he’s a guy and a guitar but he’s getting his feet more accustomed to the electric stuff (see “Deep Dark Wells”).

Photo by Suzanne McMahon

From Erelli’s last album, “Everything in Ruin” sounded great in a bluegrassy form. The Armerdings provided the harmonies and the strings, but the rhythm of the song stood out. Mark Erelli came through with one of his best songs to date.

While that was a staple, Erelli brought out one of my favorite tracks “Imaginary Wars.” This song is hidden on an old record and I’d always wanted. It was an oldie from 2006′s Hope & Other Casualties. It had a different sound with the driving percussion of the studio version but, the strong songwriting carried it through.

Photo by Suzanne McMahon

The Armerdings did more than just contribute backup vocals. Jake sang his bluegrass cover of “Boy in the Bubble” along with several original tunes. Taylor sang his cover of “Crash on the Barrellhead” and a few other tunes.

Overall, the boys made the evening about as upbeat as possible in a temple in the burbs. In fact, despite the fact that Suzanne and I were definitely the spring chickens of the bunch, there was an energy and appreciation of the quality of the playing. Don’t say there’s nothing exciting in the suburbs.

When I first visited the website, four songs were available to stream. All of them were compelling, full of bluegrass orchestration, beautifully blended harmonies over wonderfully rich songcraft.

The song “Dream in Blue” was the first one to catch me. It shows Maya’s beautiful voice. She sings in short phrases “I dream in blue / I drown in dew / I left home on account of you / Always loving someone new.” Each of the phrases flow over one another like a different shirt. They are phrased in such a way as to accentuate every word and reaffirm the common melody. The tune is deceptively simple.

Oliver Craven provides the other half of the vocals and songwriting tandem. His voice has a slightly husky folky quality. His tunes have a bit of a more “normal” bluegrass folky sound. But his voice is compelling particularly when paired with Maya de Vitry. The song “25 to Life” is a prison tune and rocks in all the right places. “My Brother’s Hill” is another tune of Oliver’s that has a deeply folk-inflected sound to it.

Maya de Vitry spins a story of equal value in “Railroad Man.” It tells a heart-rending story of a boy born without a father. The song is sung wit a purity of emotion. Maya knows how to bring a song to life.

When i looked back at the Borderland EP, I found earlier hints of the same talent. The trio has a propulsive and progressing ability. I was lucky enough to catch a live show and I found that they are at least as good live as they are on tape.

The Three Tall Pines are a highly talented bluegrass band on tape. Live they are more of an authentic southern railroad quartet. They dress like the Soggy Bottom Boys but they can drop a high harmony like it’s their job (it is). The tunes, mostly written by Taunton, MA’s own Dan Boudreau seem like they were torn from an era that has long since past.

“Stonewalls” recounts the tale of Boudreau’s grandfather seeing a dirt road paved. He swings through the images of a cornfield and livestock. It sounds as southern and authentic with Boudreau’s accent and Conor Smith’s beautiful fiddle lines as any bluegrass tune I’ve heard.

The band blended vocals and brilliant instrumental work. Each note seemed accurate but emotional at the same time. The boys dripped with an authenticity you wouldn’t expect from northerners. But I felt like I could have walked into a bar in Kentucky and seen the same band.

The first act, the Stray Birds, did not disappoint either. I had recently gotten their two records after hearing “Dream in Blue” and I was stunned. Maya de Vitry’s voice was equal parts folk and soul. It falls somewhere between Gillian Welch and Alison Kraus and makes something new.

Throw in equally strong fiddle work from de Vitry and Oliver Craven (singer/songwriter), and you’ve get a hell of a trio. The basslines of Charles Mench drive the tunes forward and round out the harmonies.

At the show, the three part harmonies of de Vitry, Craven and Mench drove the point home. They seemed to raise each of the songs from songcraft to truly emotional performance. Craven’s tunes “25 to Life” and “Heavy Hands” blended seamlessly into the heartbroken tunes of de Vitry with “Railroad Man” and “Harlem.” Craven’s tunes sound like they came from the farm country.

The true standout of the show was “Borderland.” De Vitry explained that it was about her grandfather who’d died in a plane crash and how he was with the birds. The phrasing and his letter home “Look for me with the birds of the borderland / I know what it means to feel free.” If you’re not sure of the song, just wait for the harmonies. Gives me goosebumps.

The Stray Birds are the real deal. I haven’t been as excited about a band in a few years. Their tunes are crafted from a place that strikes of real and tangible emotion. It’s hard to hear them and deny it. Keep an eye on them. If there is any justice in the Americana world the secret will be out soon.

Photos by Suzanne Davis

Take “We Can’t Make It Here Anymore.” It’s a song that changes from a catchy chorus to a spoken verse. And McMurtry’s drawl is just the same. Drips with his Texan authenticity. Even more likable was “Ruby and Carlos.” This one has that certain tone in McMurtry’s voice. It manages to drip with his southern accent and yet drives toward an emotion in the chorus. It has the feel of a long lost lover. It could be a short story.

I was waiting to see when McMurtry would pick his 6 string up again and drop his 12. But he didn’t and I became a new believer in its possibility. It sounds like two very in-tuned harmonized guitars. On “Hurricane Party,” McMurtry gives an interesting read on the mindset of a hurricane. McMurtry sees all of the outside choas but the chorus responds “There’s no one to talk to / When the lines go down.” He then goes into a series of stories about his long lost love. It’s about loneliness about the end of the party, not about the storm.

Another gem “Down Across the Delaware” got the show on track. It was full of literary images. The picked guitar lines are live and musical while McMurtry’s voice enunciates every word carefully. The phrasing is never too full. Each word matters. It’s as though the images here paint a downtrodden soul leaving for the winter. Another tune that could easily set the stage for a longer story.

The show was full of tunes like this. As relative newbie to McMurtry, I was stunned at how the songs took on a completely new life in an acoustic setting. James McMurtry knows how to bring life to the mundane in front of 50 somethings, in a little club outside of Boston. James had no problem with the size of the crowd and we all mutually enjoyed the show and the knowledge that what we’d seen was a true meeting of southern literate songwriting. Won’t miss him next time around, even on a school night.

Photos by Jesse Stansfield.

After some 47 years, Cary Hudson is above all a dyed-in the wool Mississippi man. He grew up in the small town of Sumrall. His songs show a true southern authenticity that many Americana artists can only dream about. The bluesy nature of the songs show something that few guitarists in rock, blues or country can match. And when he combines the three, Hudson sounds the best.

On his newest record, Hudson mixes a singer/songwriter album and a country/rock record. I’ll take the country-rocker Hudson any day of the week. The last three songs that close out the record show his roots and guitar prowess in spades. “Storyville” is a walking country tune with Hudson’s bluesy deep voice pulling through.

The next tune “Broke Down and Busted” is a true country-rocker. It has electric guitar, a whining harp and Hudson’s emotive vocals. It also has a sing-a-long chorus reminiscent of Tom Petty even.

The real gem of the record is the last track. “Hobo’s Lullaby” gives the singer/songwriter a bluesy acoustic sound. I can picture Hudson bringing his guitar to life in this song. The slide makes it sing just like his voice. Solos ratchet up the emotion.

Now, the rest of the record. Hudson’s leadoff track, “Long Lost Friend” is a bit too cheesy. Country crooners struggle to pull off songs like this one. “Rockin’ Blues” certainly rocks, but it lacks any real depth. It has a Blonde on Blonde aesthetic without a matching lyrical depth.

Hudson showed his songwriting chops on this record yet again . . . as long as you start at track 7. These tracks are some of his best in years, but the record is uneven. Hudson’s grizzled blues and country hit a unique note in music today. Hopefully we’ll see more of them next time around.

The second half of the record finds the band really hitting their stride. “Ragweed Rose” has a singable chorus with some pretty harmonies. The positivity of “Wanna Do Right” is accented by the harmonies. It sounds like vintage giving tree band. The best parts fall in line with the building choruses that draw in the audience.

With the country twang, “Thief” dials up the country. It’s slow rimshots and honky tonk piano is a nice touch. But the song is really less than exciting with Erik Fink’s spoken story lines interrupting the flow. The song sounds more like a tossed off jam.

The folk rock parts of the record seem a bit out of place. The drums are a bit too loud and the guitars a bit too electric. In particular, “River King” has a repetitive drum beat that ruins a particularly good song. It’s part rap, part R&B, part country. It just doesn’t sound quite right.

The leadoff track “Cold Cold Rain” dials up the tempo and got me pretty excited. But then, it slowed down and stayed there until the second half of the record. This band feels best with an upbeat bluegrass tempo. One that gets your foot moving and a messy singable chorus. This record only finds its footing ona  few tracks. Here’s hoping Giving Tree Band inject some more of that lively energy into the next record.

Americana? Rock? Alt-Country? Sometimes all the labels get tiresome and you just want to hear some good songwriting. Simple, emotional, powerful. On Robert Francis’ third record, he’s simplified the production, cleaned it up perhaps to a fault. That said, the polish hasn’t dulled the power of Francis’ melodic vocals. His direct vocal delivery and youthful themes give this album a simple power. The songs seem to draw from the pure emotions of a first love.

“Eighteen” immediately draws on this theme. Francis and Juliette and Carla Commagere conjure an earnest and innocent emotional picture. The chorus “Will you remember eighteen / I left you in the night sky / You are my dream / Will you remember our love / The hardest part is growing up.” Francis is exploring youthful love and does it with an authenticity that hits the right notes.

Songs “Perfectly Yours,” “Alibi,” and “Star Crossed Memories” are equally catchy and lyrically unique. Francis knows how to turn a phrase and easily jumps in and out of a falsetto voice. It’s something that’s so effortless you may forget how rare it is. “Alibi” goes from Leonard Cohen-esque vocals to the Commagere’s harmonies. “I hate to say it but you were bad in every way / I guess I had it coming but I can feel it still today.” It’s a timeless feeling.

The real gem of the record is “Some Things Never Change.” It’s young love theme at its simplest and most effective. Francis draws his images in just a few words “You’re such a kid / You’ll always be. . . . . People like you / people like me / Some things never change.” He moves easily in and out of the falsetto.

Sure, this record is much cleaner around the edges. And, has it lost some of its pure twisted beauty (see “Mescaline” from “Before Nightfall)? Maybe. But I’ll take the twisted beauty right alongside the clean polish of the new record. The images are simpler and perhaps more plaintive.